Nara Sans

Light
Light Cursive
Light Italic
Regular
Regular Cursive
Regular Italic
Medium
Medium Cursive
Medium Italic
Bold
Bold Cursive
Bold Italic
Black
Black Cursive
Black Italic
TitreClick to Edit
Light 100px
OtsikkoClick to Edit
Light Cursive 100px
UntertitelClick to Edit
Light Italic 100px
ÚjságcímClick to Edit
Regular 100px
NadpisClick to Edit
Regular Cursive 100px
OverskriftClick to Edit
Regular Italic 100px
FyrirsögnClick to Edit
Medium 100px
NagłówekClick to Edit
Medium Cursive 100px
TitoloClick to Edit
Medium Italic 100px
PrüfungsanweisungenClick to Edit
Bold 100px
StichwortClick to Edit
Bold Cursive 100px
BezeichnungClick to Edit
Bold Italic 100px
EncabezamientoClick to Edit
Black 100px
HírösszefoglalásClick to Edit
Black Cursive 100px
RubrikClick to Edit
Black Italic 100px
In my decade of experience teaching at Type & Media I have seen many students enter the course with no previous experience in type design. Over the eight months of the course they learn the structure of letterforms and the principles of construction that allow them to create well-designed typefaces, (not always terribly original, but convincing executions without obvious mistakes). Having mastered the formal execution of type, they can then move on to think about how to apply their skills. Obviously, creating type that is too closely related to existing models doesn’t justify the effort involved. Or as my Type & Media colleague Erik van Blokland says: “If an existing typeface does the job, there is no reason to make a new one.”Click to Edit
Regular 16px
In my decade of experience teaching at Type & Media I have seen many students enter the course with no previous experience in type design. Over the eight months of the course they learn the structure of letterforms and the principles of construction that allow them to create well-designed typefaces, (not always terribly original, but convincing executions without obvious mistakes). Having mastered the formal execution of type, they can then move on to think about how to apply their skills. Obviously, creating type that is too closely related to existing models doesn’t justify the effort involved. Or as my Type & Media colleague Erik van Blokland says: “If an existing typeface does the job, there is no reason to make a new one.”Click to Edit
Regular Cursive 16px
VeerutiitelClick to Edit
Regular 140px
There are still fonts which haven’t been made yet. Our job is to make them. You may consider using them.Click to Edit
Regular 0px
In spite of all the attention to type and the unprecedented conditions for type designers, the vast majority of new fonts desperately lack originality. Just as in the music industry, where cover versions and remixes are often more popular than new music, font designers seemingly prefer to exploit successful models from the past rather than strive for new solutions. Scant decades ago, new typefaces underwent a rigorous review procedure to ensure that they met the publisher’s artistic and technical criteria. Today, self-publishingClick to Edit
has eliminated such processes, and there is little critical review, little effort to add something new to the evolution of the profession. Mediocrity abounds as quality control dwindles. Dozens of blogs (as well as the print media) simply republish press releases without distinguishing between marketing and independent reviews, praising uninspired fonts and institutionalising the average. Many design awards do the same, perpetuating a false idea of what constitutes superior quality. We don’t need new fonts like this.Click to Edit
Regular 0px